New York Daily News' Scores

Select another publication »
For 6,911 reviews, this publication has graded:
  • 42% higher than the average critic
  • 3% same as the average critic
  • 55% lower than the average critic
On average, this publication grades 8.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 57
Highest review score: 100 Fruitvale Station
Lowest review score: 0 The Fourth Kind
Score distribution:
  1. Positive: 2,885 out of 6911
  2. Mixed: 2,801 out of 6911
  3. Negative: 1,225 out of 6911
6911 movie reviews
view
per page
  1. Pacific Rim: Uprising
    DeKnight shows he can pilot a CGI fight sequence as well as his predecessor, Guillermo Del Toro (“The Shape of Water”). These movies can be fun once the colossal foes start grappling. They’re even more fun with fewer explanations and more explosions. A movie about massive monster-fighting robots doesn’t need so much engineering.
  2. Casino Jack and the United States of Money
    That the film is overlong ultimately testifies to its importance, though after a while, the outrageous details start to run together like surreal satire. Except, of course, that it's all true.
  3. In the House
    Neither Claude nor Ozon comes up with a satisfying finish to this intriguing setup. But because they’re both so committed to seducing their audience, it’s a lot of fun watching them try.
  4. Jack Ryan: Shadow Recruit
    Branagh, taking advantage of his experience helming 2011’s “Thor,” shows an allegiance to the genre he’s working in; both as director as co-star, he pours on the menace.
  5. Dead Snow
    This Norwegian zombie flick is perfect for those who just want a few good jolts and whole lot of gore.
  6. Beeswax
    Fans of Andrew Bujalski's previous mumblecore movies are the likeliest audience for his latest, a modest, slice-of-life indie that doesn't quite live up to his ­earlier efforts.
  7. The Guard
    McDonagh indulges in too many '90s affectations, from blaring chapter titles to philosophizing gangsters. But he captures his misty setting's insular atmosphere beautifully.
  8. Heartbreaker
    Paradis - Johnny Depp's real-life love - is as blank as she is beautiful. But Duris is so gung-ho that he turns each ridiculous premise into a masterpiece of comic mayhem.
  9. Blue Caprice
    Director Alexandre Moors turns the project into something of an art film, requiring patience for repetitive editing and slow-burn scenes before the movie ultimately works itself under your skin.
  10. Ahead of Time
    Richman's no-nonsense approach, which relies heavily on interviews with the eloquent, 98-year-old Gruber, feels more suited to a televised biography.
  11. Gangster Squad
    Instead of expanding their sights, Fleischer and Beall narrow them, into a repetitive and increasingly exhausting series of shootouts. By the end, those guns might as well be held by extras, rather than some of the most talented actors of our time.
  12. The White Ribbon
    Haneke's superb cast provide beautifully measured hints at the disconnect between the ribbon's symbolism and the entire town's unspoken atrocities.
  13. Girl Model
    There are no supermodels or Cinderellas in this sadly compelling story, just predators and the impoverished dreamers who want to trust them.
  14. Populaire
    This frisky late-’50s-set French comedy about a competitive typing contest hunts and pecks a bit for fun after its story gets rolling, but it’s visually vibrant throughout.
  15. I Am Ali
    “Boxing was just something he did,” Foreman says, referring to all the worlds encompassed in the life of the now-72-year-old Ali. Indeed.
  16. Speed Racer
    The cast is generally game for playing cardboard cutouts, with Goodman having the most fun.
  17. Service (Serbis)
    This isn't a family -- or a film -- you'll ­easily forget.
  18. O'Horten
    A quiet, oddly serene movie with a curious soul.
  19. A Thousand Years of Good Prayers
    Very little actually happens, since most of the time Mr. Shi sits alone in Yilan's empty apartment, wondering how to help her. But there's a gentle beauty in these long, anguished silences, and Wang and his actors make the most of it.
  20. Good Ol' Freda
    Truth is, only hard-core fans of the Fab Four — granted, that’s a lot of people — will find themselves enthralled by this memo-by-memo account of the woman who spent 10 years handling the Liverpool lads’ mail. Others may be only mildly interested.
  21. Quartet
    Music lovers will appreciate both the score and the nostalgic end credits, which revisit the early years of the aged supporting cast (many of whom were actual musicians).
  22. Being Evel
    Those who came of age during Knievel’s rise, rise and fall will enjoy the fun moments. But this family-sanctioned film comes up short in terms of objectivity.
  23. Fairhaven
    Movies like this, from "Diner" to "Beautiful Girls" to "Garden State," have a standard trajectory, and this film's no different. But it has a nuance and a rumpled comfort with itself, which turns Fairhaven into an inviting place to visit.
  24. Nothing But the Truth
    A fairly gripping cautionary tale.
  25. The Foreigner
    Now that’s a kick in the head: A Western filmmaker is taking Jackie Chan seriously. The Foreigner, however, takes him a little too seriously.
  26. Kit Kittredge: An American Girl
    It's certainly been a while since we've seen a movie this resolutely old-fashioned. But while the script feels a little stiff and moralistic at times, it's hard to fault a film with such an intelligent, good-hearted heroine.
  27. Tokyo!
    Anyone looking for something original or unexpected should check out the trio of short films that comprise this entertaining ode to the titular city.
  28. The Woodmans
    What emerges is a portrait of the "psychic risk," as her father says, of living a creative life - and the intense feeling that entails.
  29. Marshall
    Marshall makes a good case for its hero as one of the brightest, boldest lawyers to ever walk into a courtroom. So why is it sometimes such a trial?
  30. Rush
    Howard, whose previous tales of men in professional peril include the topnotch “Apollo 13” as well as “Backdraft” and “Cinderella Man,” works with cinematographer Anthony Dod Mantle to create a style in the racing scenes that makes the most of every angle. By the time the final lap of Rush starts, we’re up for the ride.
  31. Inhale
    The film awkwardly mixes political, social and medical issues and ends up being less than the sum of its parts.
  32. American Swing
    Directors Jon Hart and Matthew Kaufman don’t delve deeply enough into the psyche of club founder Larry Levenson or the culture he exploited. But they do present an entertaining snapshot of his brief reign as New York’s self-appointed King of Swing.
  33. Paranormal Activity
    A "Blair Witch"-y creepshow that owes a lot to Japanese horror.
  34. I Love Your Work
    Working with a self-consciously urgent, neo-noir style, Goldberg seems intent on expressing a meaningful message of some kind. It's too bad, then, that he has chosen such a shallow subject.
  35. Waist Deep
    Billed as an action thriller, it plays out as an urban-fairy tale version of "Bonnie and Clyde," with an ending suitable for a Harlequin romance.
  36. It's All Gone Pete Tong
    The faux-documentary format does nothing for the material, but Kaye turns in a chaotic and ultimately moving performance.
  37. MirrorMask
    Like many dreams, you won't remember it when you wake up. The style obliterates any emotional attachment.
  38. The Shaggy Dog
    There are many delightful movie techniques out there available for making animals appear to speak, so it's too bad The Shaggy Dog doesn't use any of them.
  39. Clouds
    Good intentions abound in this earnest debut film.
  40. Zhantai
    After lulling us into a neartorpor, Jia sneaks in one of the most gut-punching endings in recent memory.
  41. The Rocker
    Wilson works overtime to hold Peter Cattaneo's flimsy comedy together.
  42. Guess Who
    A disappointing retread of a bunch of better movies.
  43. Dust to Glory
    But where there is a natural poetry of motion in surfing movies, off-road racing is a herky-jerky pastime whose ­appeal is hard to fathom. I guess you had to be there.
  44. Johnny English
    There weren't enough good laughs for me to recommend it to anyone other than the most devoted Beanheads.
  45. The Blind Swordsman: Zatoichi
    The best part of Zatoichi is its fine sense of rhythm, culminating in a galvanizing clog-dance finish.
  46. The Ice Harvest
    The nasty, violent material has two small beacons of hope - Nielsen as a fair-weather stripper in the manner of old film-noir dames, and Quaid as a scurvy ­mobster who hates being cheated. With his puffy, reddened face, Quaid looks like a bad Santa.
  47. The Wolves of Kromer
    This Grimm-influenced fairy tale has a contemporary twist and the best of intentions, and that's about all there is to say for it.
  48. The Night Listener
    Casting Williams in this thriller, adapted from Armistead Maupin's novel, was a bigger mistake than the actor's performance.
  49. People I Know
    It was filmed in and around the World Trade Center, and the subsequent cuts, reshoots and sleights of hand designed to obscure that fact prove devastating.
  50. Cassandra's Dream
    The Coen brothers might have pulled this off, but it's out of Allen's faltering reach.
  51. Dopamine
    Billed as the first film to go from conception to the big screen within the Sundance program, Dopamine is an amiably slight independent film that probably should have gone directly to the Sundance Channel.
  52. Knockaround Guys
    Nothing you haven't already seen elsewhere, except for Vin Diesel looking even then like a box-office champ.
  53. American Desi
    With a few exceptions, the Indian characters are two-dimensional buffoons whose traditions are presented as silly quirks meant for cheap laughs.
  54. Rugrats Go Wild
    Though the energy occasionally flags, the movie does a nice job of exploiting the crossover potential.
  55. Hollow Man
    Might have worked as a sex comedy, certainly as porn. But as a suspense thriller, it's creepy for all the wrong reasons.
    • 51 Metascore
    • 50 Critic Score
    She's All That
    Well, it's not that hard to predict how this comedy with a little emotional depth will end. And that's not such a terrible thing, because She's All That delivers a lot of charm and quite a few nice comic touches. [29 Jan 1999, p.68]
    • New York Daily News
  57. The Business of Strangers
    A claustrophobic psychodrama.
  58. House of Wax
    It's a good thing Jaume Serra's House of Wax wasn't shot in 3-D like the original 1953 horror classic - Paris Hilton is in it and she doesn't have a third dimension.
  59. Levity
    Where's the levity, you ask? There is none, or rather, there is none that Manuel can perceive.
  60. Next
    Tamahori attempts to cover the ludicrousness of the story with a wickedly fast pace and sensational action set pieces. And in a film more than an hour and half long, events do whiz by.
  61. The Longest Yard
    It's a misguided, miscast remake of the 1974 Robert Aldrich classic.
  62. Sydney White
    Unfortunately, though, Bynes' persistent mugging only emphasizes Nussbaum's relentlessly cartoonish direction.
  63. Intimate Strangers
    This has all the ingredients for a top-notch thriller except one - a thrill.
  64. Daydream Believer
    Eisenstadt does a nice job with limited resources (shot briskly on video, the film feels like a home movie), successfully capturing the futility of struggling actors.
  65. Saw II
    Though the overall effect feels a little anemic compared with its predecessor, the ads promise blood, and - oh yes - there is blood.
  66. Stuart Little 2
    Nearly scrapes the bottom of the cracker barrel in search of suspense, now that the humans accept the polite mouse as one of their own.
  67. The Good German
    If you feel anything other than admiration for its craftsmanship, let me know; The Good German is as emotionally cold and unconvincing as any movie I've seen this year.
  68. Gray Matters
    This exhausting romance feels more like a long-lost episode of "Three's Company" in which Jack Tripper decides he is actually gay.
  69. Cop Out
    Has its moments, it's also regrettably ordinary.
  70. A Tale of Two Sisters
    the director works way too hard to cover his tracks, and the resolution is a disappointment - if you get it at all.
  71. Bride of the Wind
    There's great music and lovely settings, but the filmmakers have done little more with their subject than reiterate the Britannica's description of her.
  72. Trudell
    Rae does offer a riveting introduction to the American Indian civil rights movement.
  73. All the Little Animals
    Hurt is slumming in an unchallenging role.
  74. Frailty
    There's a good little psychological thriller buried underneath all the manufactured shocks, in the story of a powerless child standing alone against a parent's mental illness.
    • New York Daily News
  75. How to Lose a Guy in 10 Days
    Some of the scenarios are funny. But they're uniformly overplayed.
  76. Hoot
    What's subversive about the movie is that it comes off as squeaky-clean, when in fact it's irresponsible. Worse, it's not that interesting.
  77. The Count of Monte Cristo
    With more buckling than swash, The Count of Monte Cristo is a good-looking, poorly acted washout.
    • New York Daily News
  78. Envy
    Envy is such an ugly emotion, perhaps it deserves an ugly movie. Barry Levinson's Envy fills the bill - a mean-spirited black comedy saturated with dog-poo jokes and only intermittent yowls of mirth.
  79. A Serious Man
    The humor is sharp and so are the judgments, which pile on until the characters are nearly suffocated under the weight of so much disdain.
  80. Gulliver's Travels
    The cast gamely tries to keep up, with the scene-stealing O'Dowd making the strongest impression. Still, it all feels so lazy and familiar that adults may find themselves hoping Black will start to challenge himself again - and the more swiftly the better.
  81. Prince of Central Park
    Awkwardly plotted drama about a runaway child in Central Park.
  82. Clockstoppers
    After the first hour, it starts to convince you that time really can stand still.
    • New York Daily News
  83. Half Baked
    Reefer mildness.
    • New York Daily News
  84. Casanova
    A period romp that tries too hard.
  85. Never Back Down
    By the time ever-noble, ever-watchable Djimon Hounsou shows up to teach earnest young Jake honor and roundhouse kicks, the power-rock and smashmouth idiocy become like a fever dream, sweaty and hard to shake off.
  86. Legally Blonde 2: Red, White & Blonde
    Director Charles Herman-Wurmfeld ("Kissing Jessica Stein") misses several opportunities to go all out and be, as Elle would say, "superfun."
  87. The Big Hit
    Mark Wahlberg could lose some of the good will he generated from his performance in "Boogie Nights" by playing an idiotically gentle killer for hire in The Big Hit. [24 April 1998, p. 53]
    • New York Daily News
  88. Dandelion
    Like its troubled protagonists, Mark Milgard's ultra-sensitive ode to adolescent angst is equal parts earnest and awkward. Should you happen to be a 15-year-old girl, you'll adore it.
  89. Original Sin
    Banderas has some very effective moments, but in his emotional scenes, Cristofer has him screaming his lines into Jolie's face with such a spritzing fury, she might have filed a union grievance.
  90. Manic
    Searching for a documentary feel, the camera here is so shaky that you cling to the arms of your chair lest you pitch into the next row.
  91. Against the Ropes
    As a boxing movie, Against the Ropes is perfunctory, with a well-muscled Omar Epps diligently enduring predictable montages showing his rise to fame as Jackie's first protégé. As a biopic, it's likewise uninspired stuff.
  92. Intermission
    A black comedy that some viewers may take as an assault. The disconnect between the realism of its violence and the near-slapstick tone of some of its comedy is too much to be framed within one movie.
  93. War of the Worlds
    Go for the extraordinary special effects, by all means, but not if you want to feel good about yourself or humanity. And heed the PG-13 rating, because this movie takes no prisoners.
  94. Let's Go to Prison
    Odenkirk is an expert at the unexpected laugh. (This must be the first prison movie in which a cafeteria put-down involves the painter Lucian Freud.)
  95. Chain Camera
    Often tedious, sometimes fascinating anthology.
  96. Leatherheads
    Frankly, Zellweger shouldn't have to compete with the ghosts of Rosalind Russell and Carole Lombard, as Clooney forces her to do. It's one thing to evoke the Champagne sophistication of the screwball era; it's another to try to emulate it. Inevitably, the harder you work at capturing madcap fizz, the flatter things are going to feel.
  97. A Mighty Wind
    The wheezy Mighty Wind can't blow out the candle of this group's first musical mockumentary, 1984's "This Is Spinal Tap."
  98. The Last Time
    The Last Time feels like a script that was written backwards, as if the twist ending occurred to Caleo first and he then filled out a story to get to it. Fair enough, except getting there in this case is just no fun.
  99. Auggie Rose
    Goldblum, who has made psychological confusion his actor's stock-in-trade, gives Nolan's behavior just enough credibility to keep his quest alive for us, and Heche gives a delightfully unaffected performance as Lucy.
  100. Snow Falling on Cedars
    A prettily photographed yet morbidly gloomy movie.
Page:

Top Trailers

See all »
See all trailers »